Nowadays, Russian cultural heritage is ranked seventh in the Nation Brands Index, based on interviews of some 20,000 people mainly from Western countries and the Far East. Due to the relatively late involvement of Russia in modern globalization and international tourism, many aspects of Russian culture, like Russian jokes and the Soviet Art, remain largely unknown to foreigners.

Russia's 160 ethnic groups speak some 100 languages.[1] According to the 2002 census, 142.6 million people speak Russian, followed by Tatar with 5.3 million and Ukrainian with 1.8 million speakers.[8] Russian is the only official state language, but the Constitution gives the individual republics the right to make their native language co-official next to Russian.[9] Despite its wide dispersal, the Russian language is homogeneous throughout Russia. Russian is the most geographically widespread language of Eurasia and the most widely spoken Slavic language.[10] Russian belongs to the Indo-European language family and is one of the living members of the East Slavic languages; the others being Belarusian and Ukrainian (and possibly Rusyn). Written examples of Old East Slavic (Old Russian) are attested from the 10th century onwards.[11]

Over a quarter of the world's scientific literature is published in Russian. Russian is also applied as a means of coding and storage of universal knowledge—60–70% of all world information is published in the English and Russian languages.[12] The language is one of the six official languages of the United Nations.

Folklorists today consider the 1920s the Soviet Union’s golden age of folklore. The struggling new government, which had to focus its efforts on establishing a new administrative system and building up the nation’s backwards economy, could not be bothered with attempting to control literature, so studies of folklore thrived. There were two primary trends of folklore study during the decade: the formalist and Finnish schools. Formalism focused on the artistic form of ancient byliny and faerie tales, specifically their use of distinctive structures and poetic devices.[13] The Finnish school was concerned with connections amongst related legends of various Eastern European regions. Finnish scholars collected comparable tales from multiple locales and analyzed their similarities and differences, hoping to trace these epic stories’ migration paths.[14]

Once Joseph Stalin came to power and put his First Five Year Plan into motion in 1928, the Soviet government began to criticize and censor folklore studies. Stalin and the Soviet regime repressed folklore, believing that it supported the old tsarist system and a capitalist economy. They saw it as a reminder of the backward Russian society that the Bolsheviks were working to surpass.[15] To keep folklore studies in check and prevent "inappropriate" ideas from spreading amongst the masses, the government created the RAPP – the Russian Association of Proletarian Writers. The RAPP specifically focused on censoring fairy tales and children’s literature, believing that fantasies and “bourgeois nonsense” harmed the development of upstanding Soviet citizens. Fairy tales were removed from bookshelves and children were encouraged to read books focusing on nature and science.[16] RAPP eventually increased its levels of censorship and became the Union of Soviet Writers in 1932.

In order to continue researching and analyzing folklore, intellectuals needed to justify its worth to the Communist regime. Otherwise, collections of folklore, along with all other literature deemed useless for the purposes of Stalin’s Five Year Plan, would be an unacceptable realm of study. In 1934, Maksim Gorky gave a speech to the Union of Soviet Writers arguing that folklore could, in fact, be consciously used to promote Communist values. Apart from expounding on the artistic value of folklore, he stressed that traditional legends and fairy tales showed ideal, community-oriented characters, which exemplified the model Soviet citizen.[17] Folklore, with many of its conflicts based on the struggles of a labor-oriented lifestyle, was relevant to Communism as it could not have existed without the direct contribution of the working classes.[18] Also, Gorky explained that folklore characters expressed high levels of optimism, and therefore could encourage readers to maintain a positive mindset, especially as their lives changed with the further development of Communism.[14]

Iurii Sokolov, the head of the folklore section of the Union of Soviet Writers also promoted the study of folklore by arguing that folklore had originally been the oral tradition of the working people, and consequently could be used to motivate and inspire collective projects amongst the present-day proletariat.[19] Characters throughout traditional Russian folktales often found themselves on a journey of self-discovery, a process that led them to value themselves not as individuals, but rather as a necessary part of a common whole. The attitudes of such legendary characters paralleled the mindset that the Soviet government wished to instill in its citizens.[20] He also pointed out the existence of many tales that showed members of the working class outsmarting their cruel masters, again working to prove folklore’s value to Soviet ideology and the nation’s society at large.[21] Convinced by Gorky and Sokolov's arguments, the Soviet government and the Union of Soviet Writers began collecting and evaluating folklore from across the country. The Union handpicked and recorded particular stories that, in their eyes, sufficiently promoted the collectivist spirit and showed the Soviet regime’s benefits and progress. It then proceeded to redistribute copies of approved stories throughout the population. Meanwhile, local folklore centers arose in all major cities.[22] Responsible for advocating a sense of Soviet nationalism, these organizations ensured that the media published appropriate versions of Russian folktales in a systematic fashion.[14]

Apart from circulating government-approved fairy tales and byliny that already existed, during Stalin’s rule authors parroting appropriate Soviet ideologies wrote Communist folktales and introduced them to the population. These contemporary folktales combined the structures and motifs of the old byliny with contemporary life in the Soviet Union. Called noviny, these new tales were considered the renaissance of the Russian epic.[23] Folklorists were called upon to teach modern folksingers the conventional style and structure of the traditional byliny. They also explained to the performers the appropriate types of Communist ideology that should be represented in the new stories and songs[24] As the performers of the day were often poorly educated, they needed to obtain a thorough understanding of Marxist ideology before they could be expected to impart folktales to the public in a manner that suited the Soviet government. Besides undergoing extensive education, many folk performers traveled throughout the nation in order to gain insight into the lives of the working class, and thus communicate their stories more effectively.[25] Due to their crucial role in spreading Communist ideals throughout the Soviet Union, eventually some of these performers became highly valued members of Soviet society. A number of them, despite their illiteracy, were even elected as members of the Union of Soviet Writers.[26]

These new Soviet fairy tales and folk songs primarily focused on the contrasts between a miserable life in old tsarist Russia and an improved one under Stalin’s leadership.[27] Their characters represented identities for which Soviet citizens should strive, exemplifying the traits of the “New Soviet Man.”[28] The heroes of Soviet tales were meant to portray a transformed and improved version of the average citizen, giving the reader a clear goal for an ideal community-oriented self that the future he or she was meant to become. These new folktales replaced magic with technology, and supernatural forces with Stalin.[29] Instead of receiving essential advice from a mythical being, the protagonist would be given advice from omniscient Stalin. If the character followed Stalin’s divine advice, he could be assured success in all his endeavors and a complete transformation into the “New Soviet Man.”[30] The villains of these contemporary fairy tales were the Whites and their leader Idolisce, “the most monstrous idol,” who was the equivalent of the tsar. Descriptions of the Whites in noviny mirrored those of the Tartars in byliny.[31] In these new stories, the Whites were incompetent, stagnant capitalists, while the Soviet citizens became invincible heroes.[32]

Once Stalin died in March 1953, folklorists of the period quickly abandoned the new folktales. Written by individual authors and performers, noviny did not come from the oral traditions of the working class. Consequently, today they are considered pseudo-folklore, rather than genuine Soviet (or Russian) folklore.[33] Without any true connection to the masses, there was no reason noviny should be considered anything other than contemporary literature. Specialists decided that attempts to represent contemporary life through the structure and artistry of the ancient epics could not be considered genuine folklore.[34] Stalin’s name has been omitted from the few surviving pseudo-folktales of the period.[33] Instead of considering folklore under Stalin a renaissance of the traditional Russian epic, today it is generally regarded as a period of restraint and falsehood.

Russia owes much of its wit to the great flexibility and richness of the Russian language, allowing for puns and unexpected associations. As with any other nation, its vast scope ranges from lewd jokes and silly word play to political satire.

Russian jokes, the most popular form of Russian humour, are short fictional stories or dialogues with a punch line. Russian joke culture features a series of categories with fixed and highly familiar settings and characters. Surprising effects are achieved by an endless variety of plots. Russians love jokes on topics found everywhere in the world, be it politics, spouse relations, or mothers-in-law.

Matryoshka doll is a Russian nesting doll. A set of Matryoshka dolls consist of a wooden figure which can be pulled apart to reveal another figure of the same sort inside. It has in turn another figure inside, and so on. The number of nested figures is usually six or more. The shape is mostly cylindrical, rounded at the top for the head and tapered towards the bottom, but little else. The dolls have no extremities, (except those that are painted). The true artistry is in the painting of each doll, which can be extremely elaborate. The theme is usually peasant girls in traditional dress, but can be almost anything; for instance, fairy tales or Soviet leaders.

Russian icons are typically paintings on wood, often small, though some in churches and monasteries may be as large as a table top. Many religious homes in Russia have icons hanging on the wall in the krasny ugol, the "red" or "beautiful" corner (see Icon Corner). There is a rich history and elaborate religious symbolism associated with icons. In Russian churches, the nave is typically separated from the sanctuary by an iconostasis (Russian ikonostás) a wall of icons. Icon paintings in Russia attempted to help people with their prayers without idolizing the figure in the painting. The most comprehensive collection of Icon art is found at the Tretyakov Gallery.[38]

The use and making of icons entered Kievan Rus' following its conversion to Orthodox Christianity from the Eastern Roman (Byzantine) Empire in 988 AD. As a general rule, these icons strictly followed models and formulas hallowed by usage, some of which had originated in Constantinople. As time passed, the Russians—notably Andrei Rublev and Dionisius—widened the vocabulary of iconic types and styles far beyond anything found elsewhere. The personal, improvisatory and creative traditions of Western European religious art are largely lacking in Russia before the seventeenth century, when Simon Ushakov's painting became strongly influenced by religious paintings and engravings from Protestant as well as Catholic Europe.

In the mid-seventeenth century, changes in liturgy and practice instituted by Patriarch Nikon resulted in a split in the Russian Orthodox Church. The traditionalists, the persecuted "Old Ritualists" or "Old Believers", continued the traditional stylization of icons, while the State Church modified its practice. From that time icons began to be painted not only in the traditional stylized and nonrealistic mode, but also in a mixture of Russian stylization and Western European realism, and in a Western European manner very much like that of Catholic religious art of the time. The Stroganov movement and the icons from Nevyansk rank among the last important schools of Russian icon-painting.

In the 20th century many Russian artists made their careers in Western Europe, forced to emigrate by the Revolution. Wassily Kandinsky, Marc Chagall, Naum Gabo and others spread their work, ideas, and the impact of Russian art globally.

During the Russian Revolution a movement was initiated to put all arts to service of the dictatorship of the proletariat. The instrument for this was created just days before the October Revolution, known as Proletkult, an abbreviation for "Proletarskie kulturno-prosvetitelnye organizatsii" (Proletarian Cultural and Enlightenment Organizations). A prominent theorist of this movement was Alexander Bogdanov. Initially, Narkompros (ministry of education), which was also in charge of the arts, supported Proletkult. Although Marxist in character, the Proletkult gained the disfavor of many party leaders, and by 1922 it had declined considerably. It was eventually disbanded by Stalin in 1932. De facto restrictions on what artists could paint were abandoned by the late 1980s.

Russian Folk Dance (Russian: Русский Народный Танец ) can generally be broken up into two main types of dances Khorovod (Russian: Хоровод), a circular game type dance where the participants hold hands, sing, and the action generally happens in the middle of circle, and Plyaska (Russian: Пляска or Плясовый), a coed circular dance that increases in diversity and tempo, according to Bob Renfield, considered to be the preeminent scholar on the topic. Other forms of Russian Folk Dance include Pereplyas (Russian: Перепляс), an all-male competitive dance, Mass Dance (Russian: Массовый пляс), an unpaired stage dance without restrictions on age or number of participants, Group Dance (Russian: Групповая пляска) a type of mass dance employs simple round-dance passages, and improvisation, and types of Quadrille’s (Russian: Кадриль), originally a French dance brought to Russia in the 18th century.[39]

Ethnic Russian dances include khorovod (Russian: Хоровод), barynya (Russian: Барыня), kamarinskaya (Russian: Камаринская), kazachok (Russian: Казачок) and chechotka (Russian: Чечётка) (a tap dance in bast shoes and with a bayan).[40]Troika (Russian: Тройка) A dance with one man and two women, named after the traditional Russian carriage which is led by three horses. Bear Dance or dancing with bears (Russian: Танец С Медведем) Dates back to 907 when Great Russian Prince Oleg, in celebration of his victory over the Greeks in Kiev, had as entertainment, 16 male dancers dress as bears and four bears dress as dancers .[41][42] Dances with dancers dressed as bears are a reoccurring theme, as seen a recording of the Omsk Russian Folk Chorus.[43]

Music in 19th century Russia was defined by the tension between classical composer Mikhail Glinka along with the other members of The Mighty Handful, who embraced Russian national identity and added religious and folk elements to their compositions, and the Russian Musical Society led by composers Anton and Nikolay Rubinstein, which was musically conservative. The later Romantic tradition of Pyotr Ilyich Tchaikovsky, one of the greatest composers of the Romantic era, whose music has come to be known and loved for its distinctly Russian character as well as its rich harmonies and stirring melodies, was brought into the 20th century by Sergei Rachmaninoff, one of the last great champions of the Romantic style of European classical music.[44]

The original purpose of the ballet in Russia was to entertain the imperial court. The first ballet company was the Imperial School of Ballet in St. Petersburg in the 1740s. The Ballets Russes was a ballet company founded in the 1909 by Sergey Diaghilev, an enormously important figure in the Russian ballet scene. Diaghilev and his Ballets Russes' travels abroad profoundly influenced the development of dance worldwide.[5] The headquarters of his ballet company was located in Paris, France. A protégé of Diaghileve, George Balanchine, founded the New York City Ballet Company in 1948.

While in the industrialized nations of the West, motion pictures had first been accepted as a form of cheap recreation and leisure for the working class, Russian filmmaking came to prominence following the 1917 revolution when it explored editing as the primary mode of cinematic expression.[46] Russian and later Soviet cinema was a hotbed of invention in the period immediately following the 1917 revolution, resulting in world-renowned films such as Battleship Potemkin.[6] Soviet-era filmmakers, most notably Sergei Eisenstein and Andrei Tarkovsky, would become some of the world's most innovative and influential directors.

The late 1980s and 1990s were a period of crisis in Russian cinema and animation. Although Russian filmmakers became free to express themselves, state subsidies were drastically reduced, resulting in fewer films produced. The early years of the 21st century have brought increased viewership and subsequent prosperity to the industry on the back of the economy's rapid development, and production levels are already higher than in Britain and Germany.[49] Russia's total box-office revenue in 2007 was $565 million, up 37% from the previous year[50] (by comparison, in 1996 revenues stood at $6 million).[49] Russian cinema continues to receive international recognition. Russian Ark (2002) was the first feature film ever to be shot in a single take.

Russia also has a long and rich tradition of animation, which started already in the late Russian Empire times. Most of Russia's cartoon production for cinema and television was created during Soviet times, when Soyuzmultfilm studio was the largest animation producer. Soviet animators developed a great and unmatched variety of pioneering techniques and aesthetic styles, with prominent directors including Ivan Ivanov-Vano, Fyodor Khitruk and Aleksandr Tatarskiy. Soviet cartoons are still a source for many popular catch phrases, while such cartoon heroes as Russian-style Winnie-the-Pooh, cute little Cheburashka, Wolf and Hare from Nu, Pogodi! being iconic images in Russia and many surrounding countries. The traditions of Soviet animation were developed in the past decade by such directors as Aleksandr Petrov and studios like Melnitsa.

Originating from Russian scientific community and telecommunication industries, a specific Russian culture of using the Internet has been established since the early 1990s. In the second half of the 1990s, the term Runet was coined to call the segment of Internet written or understood in the Russian language. Whereas the Internet "has no boundaries", "Russian Internet" (online communications in the Russian language) can not be localized solely to the users residing in the Russian Federation as it includes Russian-speaking people from all around the world. This segment includes millions of users in other ex-USSR countries, Israel and others abroad diasporas.[51]

With the introduction of the Web, many social and cultural events found reflections within the Russian Internet society. Various online communities formed, and the most popular one grew out of the Russian-speaking users of the California-based blogging platform LiveJournal (which was completely bought out in December 2007 by Russian firm SUP Fabrik).[52] In January 2008 a LiveJournal blog of the "3rd statesman" Sergey Mironov had appeared and he was shortly followed by the new President Dmitry Medvedev who opened a personal video blog which was later also expanded with a LiveJournal version.

As of late, there are scores of websites offering Russian language content including mass media, e-commerce, search engines and so on. Particularly notorious are the "Russian Hackers".[53] Russian web design studios, software and web-hosting enterprises offer a variety of services, and the results form a sort of national digital culture. E-commerce giants such as Google and Microsoft have their Russian branches. In September 2007, the national domain .ru passed the milestone of a million domain names.[54] By the end of the 2000s, VKontakte social network became the most populated in the Runet.

Famous Russian battle tanks include T-34, the best tank design of World War II,[58] and further tanks of T-series, including T-54/55, the most produced tank in history,[59] first fully gas turbine tank T-80 and the most modern Russian tank T-90. The AK-47 and AK-74 by Mikhail Kalashnikov constitute the most widely used type of assault rifle throughout the world – so much so that more AK-type rifles have been produced than all other assault rifles combined.[60][61] With these and other weapons Russia for a long time has been among the world's top suppliers of arms.

Russian holidays is the holidays of Russian people connected with widespread national traditions of their carrying out. For a long time already in Russia there was a set of remarkable holidays. People drove round dances, sang songs, and lived not boringly. Every day, what that – a holiday. But gradually traditions and holidays varied. In Russia there are also state holidays.[62]

Christianity, Islam, Buddhism, and Judaism are Russia’s traditional religions, deemed part of Russia's "historical heritage" in a law passed in 1997.[63] Estimates of believers widely fluctuate among sources, and some reports put the number of non-believers in Russia as high as 16–48% of the population.[64]Russian Orthodoxy is the dominant religion in Russia.[65] 95% of the registered Orthodox parishes belong to the Russian Orthodox Church while there are a number of smaller Orthodox Churches.[66] However, the vast majority of Orthodox believers do not attend church on a regular basis. Nonetheless, the church is widely respected by both believers and nonbelievers, who see it as a symbol of Russian heritage and culture.[67] Smaller Christian denominations such as Roman Catholics, Armenian Gregorians, and various Protestants exist.

The ancestors of many of today’s Russians adopted Orthodox Christianity in the 10th century.[67] The 2007 International Religious Freedom Report published by the US Department of State said that approximately 100 million citizens consider themselves Russian Orthodox Christians.[68] According to a poll by the Russian Public Opinion Research Center, 63% of respondents considered themselves Russian Orthodox, 6% of respondents considered themselves Muslim and less than 1% considered themselves either Buddhist, Catholic, Protestant or Jewish. Another 12% said they believe in God, but did not practice any religion, and 16% said they are non-believers.[69]

Russians have been successful at a number of sports and consistently finish in the top rankings at the Olympic Games and in other international competitions. Combining the total medals of Soviet Union and Russia, the country is second among all nations by number of gold medals both at the Summer Olympics and at the Winter Olympics.

During the Soviet era, the national Olympic team placed first in the total number of medals won at 14 of its 18 appearances; with these performances, the USSR was the dominant Olympic power of its era. Since the 1952 Olympic Games, Soviet and later Russian athletes have always been in the top three for the number of gold medals collected at the Summer Olympics.

Russian synchronized swimming is the best in the world, with almost all gold medals having been swept by Russians at Olympics and World Championships for more than a decade. Figure skating is another popular sport in Russia; in the 1960s, the Soviet Union rose to become a dominant power in figure skating, especially in pair skating and ice dancing, and at every Winter Olympics from 1964 until 2006, a Soviet or Russian pair has won gold, often considered the longest winning streak in modern sports history. Since the end of the Soviet era, tennis has grown in popularity and Russia has produced a number of famous tennis players. Chess is also a widely popular pastime; from 1927, Soviet and Russian chess grandmasters have held the world championship almost continuously.

As the Soviet Union, Russia was traditionally very strong in basketball, winning various Olympic tournaments, World Championships and Eurobasket. As of 2009 they have various players in the NBA, notably Utah Jazz forward Andrei Kirilenko, and are considered as a worldwide basketball force. In 2007, Russia defeated world champions Spain to win Eurobasket 2007. Russian basketball clubs such as PBC CSKA Moscow (2006 and 2008 Euroleague Champions) have also had great success in European competitions such as the Euroleague and the ULEB Cup.

During the Soviet period, Russia was also a competitive footballing nation. Despite having fantastic players, the USSR never really managed to assert itself as one of the major forces of international football, although its teams won various championships (such as Euro 1960) and reached numerous finals (such as Euro 1988). Along with ice hockey and basketball, football is one of the most popular sports in modern Russia. In recent years, Russian football, which downgraded in 1990-s, has experienced a revival. Russian clubs (such as CSKA Moscow, Zenit St Petersburg, Lokomotiv Moscow, and Spartak Moscow) are becoming increasingly successful on the European stage (CSKA and Zenit winning the UEFA Cup in 2005 and 2008 respectively). The Russian national football team reached the semi-finals of Euro 2008, losing only to eventual champions Spain.

Tourism in Russia has seen rapid growth since the late Soviet times, first inner tourism and then international tourism as well. Rich cultural heritage and great natural variety place Russia among the most popular tourist destinations in the world. The country contains 23 UNESCO World Heritage Sites, while many more are on UNESCO's tentative lists.[75] Major tourist routes in Russia include a travel around the Golden Ring of ancient cities, cruises on the big rivers like Volga, and long journeys on the famous Trans-Siberian Railway. Diverse regions and ethnic cultures of Russia offer many different food and souvenirs, and show a great variety of traditions, like Russian banya, Tatar Sabantuy, or Siberian shamanist rituals.

The most famous natural tourist destination in Russia is lake Baikal, named the Blue Eye of Siberia. This unique lake, oldest and deepest in the world, has crystal-clean waters and is surrounded by taiga-covered mountains.

^"Russian Census of 2002". 4.3. Population by nationalities and knowledge of Russian; 4.4. Spreading of knowledge of languages (except Russian). Federal State Statistics Service. Retrieved 16 January 2008.